Musical practice is permeated by valuation and judgment. Audiences judge performers and composers; performers dote on and honour certain works while disregarding others; composers respect audiences or despise them. How do such valuations come about? Why do some valuations prevail while others fade into oblivion? And which Standards, if any, underlie them? Such matters must be explored ever anew, for established evaluations lose credit just as fresh ones arise and spread. In 1968 Harald Kaufmann ...